Welcome to Flautotonic
Flautotonic is a fresh, creative early music ensemble that explores the copious possibilities of recorders and baroque flute. The London-based duo was formed by Lauren Brant (recorders) and David Beaney (recorders and Baroque flute). The duo is also regularly joined by the harpsichordist Claire Williams and the percussionist Rebecca McChrystal. This is an exciting addition to the ensemble and adds another colour to their sound world.
Adept at performing repertoire from the medieval period through to the high baroque and beyond, Flautotonic also aim to present interesting and diverse programmes. Alongside their early music repertoire their programmes also feature creative arrangements inspired by folk music, Argentine tango and British pop music.
They perform regularly in a variety of concert venues throughout the UK. All the musicians in Flautotonic are experienced educationalists and bring a wealth of knowledge and love of learning to their performances. The ensemble regularly leads music workshops and creates interactive family concerts for museums and festivals.
Adept at performing repertoire from the medieval period through to the high baroque and beyond, Flautotonic also aim to present interesting and diverse programmes. Alongside their early music repertoire their programmes also feature creative arrangements inspired by folk music, Argentine tango and British pop music.
They perform regularly in a variety of concert venues throughout the UK. All the musicians in Flautotonic are experienced educationalists and bring a wealth of knowledge and love of learning to their performances. The ensemble regularly leads music workshops and creates interactive family concerts for museums and festivals.
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A personal highlight of the concert was the superb recorder playing of Brant and Beaney, who also perform together regularly as the duo Flautotonic...Handel's Trio Sonata in F major in the first half, and Sammartini's Trio Sonata in D minor in the second half of the concert stole the show. There was not a single moment where they were not totally matched in expressivity, tone quality and technique, truly giving the impression of performing 'as one'. This was especially impressive in the final Allegro of the Sammartini sonata, which exhibited these performers' technical mastery well. British Society for Eighteenth-Century Studies |
